RE: [Leica] colour rendition [long]

["Zeissler, Mitch" <mzeissle@gcipoa.gannett.com>]

Excellent question, Rob!

I have been working on the same thing for quite some time, especially
recently when comparing the same subject matter captured on the same roll of
film but with different lenses.  To me, the results can be profoundly
jarring, but I am interested in the findings from others.

+++++++++++++++++++++++

I have no way to quantify my results, but have the following subjective,
personal observations to make with color emulsions [a wide variety of both
E-6 and C-41] and the lenses I use:

- - 1937 Leitz Wetzlar Xenon 50mm f/1.5 - S [serial: 375xxx]  -  Due to
complete lack of lens coatings and extreme susceptibility to flare, this
lens can only be used with acceptable results when in low, indirect lighting
situations [little, if any, backlighting can be used].  Wide open, the image
is in focus only in the small central area and has drop off in the corners,
though not as pronounced as the Noctilux.  As long as there are no bright
highlights, it does a nice job of capturing color [though slightly on the
warm side] and has a bizarre bokeh that can be very good or very bad,
depending on the end results [the bokeh is completely unpredictable].

- - 1954 Leitz Wetzlar Summaron 35mm f/3.5 - M [serial: 1181xxx]  -  Lack of
modern lens coatings means this lens has a warm cast [it is the warmest of
the bunch represented here], with some flare in backlit situations.  Good
bokeh.

- - 1954 Leitz Wetzlar Summicron 50mm f/2.0 - M collapsible [serial: 1232xxx]
- -  Lack of modern lens coatings again means this lens has a slightly warm
cast [less than the Summaron above], with some flare in backlit situations.
Very good bokeh.

- - 1951 Leitz Wetzlar Hektor 135mm f/4.5 - S [serial: 851xxx]  -  Lack of
modern lens coatings means this lens has a warm cast, with some flare in
backlit situations.  I use this lens the least, so I really cannot comment
further.

- - 1956 Leitz Wetzlar Hektor 135mm f/4.5 - M [serial: 1383xxx]  -  Lack of
modern lens coatings means this lens has a warm cast, with some flare in
backlit situations.  I use this lens infrequently, so I really cannot
comment further.

- - 1975 Leitz Canada Noctilux 50mm f/1.0 - M [serial: 2749xxx]  -  This is my
magic wow lens [as in "WOW!  What did you take that picture with?"] and is
the one I judge all others by.  To date, I have never seen images from other
lenses [both Leica and non-Leica] that can compare in color and tonality
rendition, shadow detail, and buttery smooth bokeh [the Summilux 35mm f/1.4
ASPH - M is probably the closest, but I haven't tested it over an extended
period].  This Noctilux has modern coatings [relatively speaking; after all,
mine *is* 25 years old].  Image color rendition is neutral.  Flare is
essentially non-existent, even with brilliant backlighting.  This lens
consistently records images that appear to be three dimensional and make me
feel I am there.  It is an awesome lens, and is well worth the extra price
and weight it entails.

- - 2000 Cosina Skopar 25mm f/4.0 - S [serial: 9920xxx]  -  Completely current
coatings.  Delivers neutral to slightly cool color rendition that is very
contrasty, when compared to images from the Noctilux [as in, same colors,
but the Skopar delivers images that look like they are shot with a high
contrast film, even when they are on the same roll as images shot with the
Noct].

+++++++++++++++++++++++

Color emulsion choice can really make a profound impact on the final result,
and you must consider how you will be using the images at the end in order
to get the most out of the lens/emulsion decision you have made.

Using the Noctilux as my baseline lens, I have found Fujichrome Provia 100F
to be the most pleasing E-6 offering to my eyes; most of the others are too
vivid and contrasty, though I am still wading through all the emulsions that
are available to me.  Color rendition while scanning can be much easier to
correct because you have an example to compare.

Again, using the Noct as my baseline lens, I presently favor the Kodak
Portra family for a C-41 emulsion, but am still testing others as well.  The
end results from scanning C-41 can be superior to E-6, due to the wider
contrast range.

+++++++++++++++++++++++

All of my comments above are highly subjective and personal in nature and
are not intended to start a flame war.  Your experience may differ, but I
would like to hear them anyway.  Some questions I would pose to others with
a wider range of Leica equipment would be:

- - How do the current wide-angle Leica M lenses compare against the comments
I made above?  For instance, if you have a Noctilux, how do it's images
compare against images taken with the Summilux 35 ASPH, Summicron 28 ASPH,
and Elmarit 24 ASPH?  Is the color and tonality consistent between lenses,
making the transition relatively transparent to the viewer [except for the
obvious viewing angle difference], or is there an discernable difference?

/Mitch Zeissler